Even though he came from the theater himself, Bob Fosse, when he came to make a film of Harold Prince's musical Cabaret, did what most movie directors do, taking the 15-song score and cutting two-thirds of it to leave five songs – "Wilkommen," "Two Ladies," "Tomorrow Belongs to Me," "If You Could See Her," and "Cabaret." (In addition, "Sitting Pretty" was performed instrumentally and "Married" in German.) He then allowed the show's songwriters, John Kander and Fred Ebb, to add material to emphasize the film's two musical stars, "Mein Herr" and "Maybe This Time" for Liza Minnelli and "Money, Money" for Minnelli and Joel Grey…
Yoga Booty Ballet Live: Cardio Cabaret, Burlesque Style! Gillian Marloth, Teigh McDonough! Yoga Booty Ballet Live Cardio Cabaret Burlesque Style - with Gillian Marloth & Teigh McDonough - This sexy, campy, and even silly cardio cance workout draws on the staples of vaudeville theater. No matter what your fitness level, you'll burn fat and calories - and who doesn't want to cut loose in their living room, pretending they're onstage in a 1940s music hall? With Cardio Cabaret, you get fun, energetic moves, a great workout, and lots of pure joyful self-expression!
The Bay Area-born guitarist Charlie Hunter burst on to the scene in the '90s with his eight-string guitar, which enabled him to simultaneously play solos, melodic lines, and basslines. After collaborating artists like Norah Jones, Kurt Elling, and Mos Def, Hunter returns to his familiar triad format with drummer Simon Lott and keyboardist Erik Deutsch. Armed with a filed-down, seven-string axe, Hunter's edgy, twangy tones owe more to grunge than to Grant Green. This 10-track CD spotlights the leader's jazz-fluent soloing, counterpointed by some spirited rock-friendly fusion, as especially on the Crescent City syncopated "Wizard Sleeve," the super-swinging, multi-tempo "Spoken Word," and the cavernous melodic mood on "Ballad." Hunter doesn't break musical barriers per se; he redraws them, and in doing so, writes his own sonic signature on the open stylistic canvas that covers this still-young century.
At a time when cross-pollination has become the new musical evolution, ECM Records remains at the vanguard. Whether blending music of Tunisian origins with European impressionistic concerns and hints of New World groove on oudist Anouar Brahem's The Astounding Eyes of Rita (2009), or marrying Persian percussion with Baroque instrumentation and Fourth World improvisation on keyboardist Jon Balke's Siwan (2009), few labels (if any) can boast such an impressive catalogue of constant innovation, where unfailing respect for tradition is matched by an equal disregard for the hard-coded conventions that seem, on the surface, inherent to its very definition. ~ AllAboutJazz